Petroglyphs: Edge of South Mountain Park, 1985–86

Mark Klett is a photographer known for projects that use historical imagery and rephotography to accentuate the passage of time in the American West. Working with a range of technology from instant to digital photography, the artist explores the relationship between humans and the natural environment to show how our presence impacts the formation of place, culture, history, and land use. Klett’s photographic reframing of the landscape is a gateway to introspection, encouraging us to critically examine the complexity of our surroundings and the stories they tell.

Phoenix from Hole in the Rock, Phoenix Zoo…, 1993

Mark Klett is a photographer known for projects that use historical imagery and rephotography to accentuate the passage of time in the American West. Working with a range of technology from instant to digital photography, the artist explores the relationship between humans and the natural environment to show how our presence impacts the formation of place, culture, history, and land use. Klett’s photographic reframing of the landscape is a gateway to introspection, encouraging us to critically examine the complexity of our surroundings and the stories they tell.

Night/Crimes: Sagittarius, 1997 | Night/Crimes: Taurus, 1997

Charles Gaines is a conceptual artist whose rule-based artistic practice utilizes formulas and systems to create works that challenge the relationship between objective and subjective reality. His artwork seamlessly blends analytical and abstract elements, critiquing the formation of meaning through representation where information is constructed by cognitive recognition rather than defined by the object. In his Night/Crimes series, Gaines combines the unrelated elements of crime scene photography and astrology, prompting viewers to examine the limitations, biases, and subjectivities inherent in our interpretations of visual evidence within broader social constructs.

Night/Crimes: Sagittarius, 1997 | Night/Crimes: Taurus, 1997

Purple Wall with Flower Pot, 1977

Pedro Meyer, a pioneer in digital photography, gained initial acclaim for his documentary photography of working-class life in Mexico and worldwide in the 1960s, highlighting issues of political unrest, social division, environmental degradation, and everyday realities. In the 1990s, Meyer began experimenting with novel digital techniques. This expansion enabled him to merge his documentary style with magical realism, evoking a disquieting atmosphere through the portrayal of subjects and their surroundings. Rather than focusing on absolute truth, Meyer aimed to capture experiences by infusing his memories into manipulated images, generating new narratives that challenged the notion of an image as a sole reflection of reality.

The Little Store in the Sky, 1991

Pedro Meyer, a pioneer in digital photography, gained initial acclaim for his documentary photography of working-class life in Mexico and worldwide in the 1960s, highlighting issues of political unrest, social division, environmental degradation, and everyday realities. In the 1990s, Meyer began experimenting with novel digital techniques. This expansion enabled him to merge his documentary style with magical realism, evoking a disquieting atmosphere through the portrayal of subjects and their surroundings. Rather than focusing on absolute truth, Meyer aimed to capture experiences by infusing his memories into manipulated images, generating new narratives that challenged the notion of an image as a sole reflection of reality.

The Pink Raincoat, 1991

Pedro Meyer, a pioneer in digital photography, gained initial acclaim for his documentary photography of working-class life in Mexico and worldwide in the 1960s, highlighting issues of political unrest, social division, environmental degradation, and everyday realities. In the 1990s, Meyer began experimenting with novel digital techniques. This expansion enabled him to merge his documentary style with magical realism, evoking a disquieting atmosphere through the portrayal of subjects and their surroundings. Rather than focusing on absolute truth, Meyer aimed to capture experiences by infusing his memories into manipulated images, generating new narratives that challenged the notion of an image as a sole reflection of reality.

Heaven?, 2005

Michael Namingha is a multidisciplinary artist whose digital prints abstract the landscape of the American Southwest using fractured geometries, vibrant colors, and language. The artist’s use of sparse phrases or words brings into question the formation of belief, love, freedom, and democracy. By combining imagery and language, Namingha creates subtle suggestions about nature’s role within the constructs of humanity, including the exploitation of ancestral lands and its prolonged impact on indigenous cultures.

Mt. Fuji, no date

Masao Yamamoto is a photographer whose signature style of intimate hand-worked gelatin silver prints centers on humility and reverence for the universe attained through inner stillness. His photographs capture the essence of memory, time, and place and often fragment reality with profound sensitivity. Drawing inspiration from Zen philosophy, his artistic practice delves into the spiritual ethos of nature and the interconnection between Earth and the self.

Dissipating Kumo (Cloud) Triptych, 2018

Miya Ando is a multidisciplinary artist whose work depicts natural phenomena. She captures the temporality of shifting clouds, phases of the moon, tidal force, and changing seasons using steel, glass, wood, and aluminum. The opposition of subject and medium create conceptually rich objects that reflect the impermanence and interdependence of the natural world. Influenced by her time growing up between the redwood forests in northern California and a Buddhist temple in Japan, Ando creates sculptures, paintings, drawings, and installations that merge Eastern and Western philosophies to explore the fundamental interconnectivity of existence.

Vitamin D, 2020

Nellie King Solomon’s practice pushes the boundaries of traditional painting, creating a punkish style that simultaneously embraces the history of abstraction and disrupts the order of things. Instead of conventional canvas and brushes, the artist paints on the industrial material Mylar with custom wood, glass, and rubber tools to create sweeping, gestural marks. Her dynamic compositions feature vibrant brushwork that is often layered with translucent washes and unusual materials like asphalt and punctuated by intricate details. Solomon’s unique process establishes rules or frameworks from which she challenges their limits, creating an energetic interplay between spontaneity and rigor.

Untitled #11 from the series Land/s, 2019

Gohar Dashti is a photographer and video artist whose work captures the profound impact of war, displacement, and social restrictions on individuals and communities, presenting a powerful commentary on the human condition. Through a combination of staged scenes and documentary-style photography, she creates surreal and evocative tableaus that reimagine reality. In her Land/s series, the artist aligns familiar topographies found in the United States and Iran, using nature as common ground despite cultural and political differences. Through her thought-provoking compositions, Dashti forms intricate relationships between individuals and their environments, exploring the fundamental human need for a sense of place and connection.

Galaxy, 1999

Untitled, from the midday, 2010

Felipe Cohen’s artistic practice challenges the idea of the elevated art object, both in its presentation and materiality, to offer new perspectives and potential for art today. Using different materials and techniques, the artist creates spatial and perceptual tensions by combining things that have contrasting levels of durability, from strong to fragile. In Untitled, Cohen transforms the brief midday shadow of a disposable cardboard box into a permanent form using smooth volcanic rock.

Untitled, from the midday, 2010 (Detail)

Stone Palette, Salt River, 1997

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